Vasily Ivanovich Surikov – Boyarynya Morozova 1
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COMMENTS: 3 Ответы
THE WOUND OF THE SCHISM
1
The dualist metaphysics is strong:
It is unworthy for us to impose a pinch of faith.
But Morozova is fierce; she
Does not value flesh – just meat in skin.
Her iron morals are barely softened.
She knows the Gospels thoroughly.
Avvakum is stronger than stone tablets –
He cannot be broken. And he writes vividly.
They cling to their mistakes,
Considering them pillars of faith.
Grains of sand are our days on earth,
But invisible realms are important.
The power of dualism, heavenly harmony –
The golden past shimmers.
The beast has come out into the world, casting off hell –
Let us renounce it, forgetting earthly things.
They cling to their mistakes, and their spirit
Is an example for us – dim-witted and weak,
Who do not know the celestial meadow,
And who live only on earth – dear, glorious…
2
The explosive power of the schism; patterns of metaphysical heavenly arcs; the metaphysics of dualism; rejected, cursed piousness. The wound of the schism on the body of Russia. Can we, todays people, so sophisticated psychologically and intellectually, understand the direct spiritual power of Avvakum or Feodosia Morozova? The thirst for a suffering crown is not something that can be burned away – it is a bridal bed; the body: a leather sack – nothingness. The depth contained in the soul is a layer of heavenly ore.
The series is sparse and colorful, but heavily imbued with modernity – what else could it be? A series that resembles living paintings, controversial, ambivalent; and yet, through fleeting sensations, it allows us to touch the mystery of the spiritual life of our ancestors – represented with difficulty, because the codes of the past are the most complex of all possible codes.
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Surrounding the central figure is a throng of individuals, depicted as indistinct masses of charcoal strokes. Their forms are blurred, lacking precise definition, which conveys their emotional state – perhaps shock, grief, or bewilderment. Some figures appear to be reaching out towards the deceased, while others seem frozen in place, caught between observation and participation.
The artist employed a dynamic range of tonal values, from deep blacks to lighter grays, creating an atmosphere of dramatic tension. The use of heavy lines emphasizes the chaotic nature of the event. A sense of movement is conveyed through the directionality of these marks; they swirl around the central figure, suggesting a vortex of emotion and action.
The composition lacks a clear spatial depth. The background appears compressed, further intensifying the focus on the immediate drama unfolding in the foreground. This flattening effect contributes to the overall feeling of claustrophobia and emotional intensity.
Subtly, there is an implication of social hierarchy at play. The elevated position of the central figure suggests a person of importance or status, while the surrounding crowd represents the community reacting to their loss. The drawing’s energy seems to stem from this intersection of individual vulnerability and collective response, hinting at themes of mortality, societal roles, and the complexities of human interaction in times of crisis.